Brattleboro Outing Club

 (C) 2026 Dale DiMauro

 

Even though it has been a cold and challenging winter in more ways than one, I am sad to see the cross-country ski season end. Today, I was hopeful and drove to the trails at the Brattleboro Outing Club to get one last ski in and found that they are closed.

To me it is more than just a ski. To strap on my skis, breathe the fresh air and experience the landscape  from a different perspective is vital to our existence. I get to see, feel and touch the patterns of light and snow which are shaped by the atmospheric affects specific to Brattleboro.

To that end, this watercolor captures some of the qualities I have experienced during my many adventures across the fields and woods of the Brattleboro Outing Club. 

It seems like every season the outing club gets better and better. The signage, trail names and campus map has become so professional in describing the characteristics of the club. Equally strong is the quality of the grooming and school instruction, etc.

Atmospheric Landscape

       (C) 2026 Dale DiMauro

Recently, I was painting a winter landscape here in Vermont and was searching for a dark to put down to represent the dense evergreens in the distance. However, I couldn't come up with a cool, dark that I was looking for. Yet, I had a vibrant, pool of rich earth-like greens on my palette. 

Regardless, I didn't want to waste this pool of pigment or let it evaporate from my palette. So I just started a new painting on the spot and that is what this is. I kept the paper wet longer where the vegetation is green so I could build up a greater foundation and have a softer appearance.

This is a painting unlike any other that I have produced. It has such an atmospheric quality which dominates the whole page. This reminds me of several locations along the coast of Bar Harbor, Maine in the summer, where the fog would move inland, while the tide is low. I have memories of seeing row boats, sail boats and the like, stranded on the mud flats and the strong smell of the sea percolating in these situations.  

This may seem like an odd little post but it is what it is. However, there is shimmering quality to this picture which captivates me.

 

Watercolor sketch

(C) 2026 Dale DiMauro

 

After a bigger snowstorm than expected, we had a gorgeous March day here in southern Vermont. Everything outside exposed to the elements ended up pretty wet, but in a good way. The fresh snow made the landscape new and exciting, like a new toy at Christmas.

I got a quick little cross-country ski in before heading off to an appointment. This little picture, is sort of, my postcard memory of the day.

The red top of this figure gliding along the open spaces and small trees was so captivating to see. The red itself commands the viewers attention like no other color.

(C) 2026 Dale DiMauro

 

Orange and blue radiates harmony or at least that's how I see it. I don't know how it actually came about - but I learned when you mix raw sienna with cadmium red you get this lovely juicy orange. And this pairs well with ultramarine blue if you have it somewhere in your picture.

Earlier this week that same pairing came up it a conversation I had with my wife. We were discussing where to hang some paintings in our living room when it seemed natural to hang a landscape with a sunset over a doorway with blue trim. This color combination seems to radiate in this location even though it is in a dimly lit location.

I am excited any time I can broaden my palette, simply with the colors I have. This makes me see the world in a different light - literally.

Winter Landscape

(C) 2026 Dale DiMauro

Cross-country skiing gets you out into the landscape through fields and woods you would not usually get to experience. Also, it makes you see the landscape in a different light.

The snow reveals the shapes of the shadows and makes the colors in the landscape glow.

I did this watercolor study based on a photograph I took when skiing earlier this week. The gradation and intensity of color was just mind-boggling.

Getting outside in the sun or on cloudy days, even for just fifteen minutes, is so worth it.

 

New Landscape

 (C) 2026 Dale DiMauro

 

This was a summer scene I came upon, late one day along the West River, here in Brattleboro, VT. The light was dramatic with the setting sun nestling into the darkness. The air was heavy and still, except for the squawking of some distant, stray birds.

This memory stayed with me until I put this down on paper. It's classic landscape - sky, water and vegetation wrapped up in regional identity.

I haven't painted on this thick Arches paper(300 lb cold press) in a while. However, I like that it doesn't buckle as much. Also, it gives me more time to work the pigments before the paint dries. This paper and weight is recommended for plein air painting. I have preferred using the 140lb Arches block but am considering trying the 300 lb paper for outside painting.

On the Common

(C) 2026 Dale DiMauro

The Brattleboro Common in Brattleboro, VT is a great location for gathering with other people to picnic or protest. In the Summer season it has great layers of canopy which make it a desirable spot to be to keep out of the sun on a hot day.

For me it is walking distance from home and has picnic tables which I can use to paint on. The other thing is the natural light is always changing which makes every experience at the Common unique in of itself.

I feel like I have a good start to this watercolor. The setting sunlight is captured on this woman sitting on a park bench in the lower right. It felt like such a strong and stunning composition I can't resist painting this subject matter. The shadows strengthen the overall scene.

 

(C) Dale DiMauro

 

Sometimes there isn't much time to paint but you squeeze in what you can. Actually, I am trying to view as much of the current Winter Olympics as I can. They go by so fast - I have made a commitment in the evenings to watch what I can. At the same time, I am trying to get whatever cross-country skiing I can before the snow disappears.

Nonetheless, I usually record any new color combinations I learn of, on a daily basis.  I tried out some of them here. The warm gray in the foreground I had not used before - it the combination of aureolin and winsor violet. Under the tree I used a lighter green - sap green and new gamboge which is a lively green when wet.

Lately, I have been re-discovering the value of a few paint brushes in my collection. Flat brushes are great for painting skies and horizontal bands(ie. fog etc.) above the horizon. For some reason which I am not sure why, I haven't been using them. 

The other brush I returned to using is the rigger brush, which I used to depict the edge of the foliage on the tree. It can make rather expressive marks on the paper and make your foliage come to life.

By the Water

(C) 2026 Dale DiMauro

 

It's good practice to paint everyday when possible. I always carry a little book around with me to record something that catches my eye or just to pause and create something. This practice keeps the mind focused and the drawing practice fluid.

I painted this yesterday amongst other watercolors I have been working on. The landscape itself is imaginary. The figure is an interpretation of me from a few summers ago while visiting the Clark Art Museum in Williamstown, MA., with my wife. I had been looking across the reflection pool they have. However, I like the more organic landscape which you see here. This is not a criticism of the Clark campus which is lovely and memorable.

In addition, I believe the touch of red in the sky, makes this image special if for no other reason. This reinforces the importance of experimentation when painting. This gives me something mentally to chew on in anticipation for when I next pick up a brush.

On the Sunny Side

(C) 2026 Dale DiMauro

 

Months ago this watercolor was started on my watercolor block. However, the landscape was not conceived or even developed at all. So it sat on my paper - until a few nights ago. 

After all the disturbing news this country develops, on a daily basis, -  I aimed to give this house a sunny disposition even if it looks of Caribbean influence. The vivid colors and lush foliage gives this landscape an exotic feel - in strong contrast with the cold snow-covered surroundings of southern Vermont.

I think preserving the white of the paper is critical is defining the various edges of paint from running into each other. I feel warmer and calmer just looking at this image.

Emily Sargent(1857 - 1936)

On a recent trip to the Museum of Fine Arts in Boston, MA, I was fortunate to be able to view: Winslow Homer: in Watercolor, amongst the crowded galleries. Homer's watercolors, on exhibit, had not been seen for over half a century, thus, marking the importance of this occasion.

However, before heading out for the day, it was revealed that Emily Sargent(1857 - 1936) had watercolors on exhibit in a gallery upstairs. Emily is the sister to John Singer Sargent, the well-known American portraitist. Neither John nor Emily married. However, they both painted extensively in watercolors, often on excursions with others, depending on where they were in the world.

In Emily's watercolor above, one can sense the shared subject matter between brother and sister and likely similar palette.

In 1998, 440 of her watercolors were discovered in a trunk in a family residence. Many of these watercolors were soon after donated to some of the greatest museums in the world(ie. Museum of Fine Arts in Boston, The Tate, The National Gallery of Art & The Metropolitan Museum of Arts amongst others). Credit: Wikipedia.

During her lifetime, her watercolors were only once known to have been exhibited.

Ultramarine Blue

(C) 2026 Dale DiMauro

 

Of all the rainbow of pigments I frequently run out of ultramarine blue. This color seems to evaporate from my palette. Often, I use this pigment in painting my skies on it's own and with other blues such as cobalt blue or cerulean. Also, I frequently use this pigment in depicting water and with other colors. 

Perhaps, it is even more valuable in mixing darks. One of my favorite combinations is to mix ultramarine blue with burnt sienna which makes a rich gray or lovely dark depending on the pigment ratio's. Another lovely dark I frequently use is ultramarine blue with burnt umber.

This is not to say I don't use other blues. There are so many out there. Some of my favorites are: Prussian blue, kings royal blue, ultramarine feinst, marine blue, peacock blue, verditer blue, horizon blue and phthalo blue.

When I use a limited palette, ultramarine blue often has to be included because it mixes well with other pigments and is useful in mixing greens.

New Landscape

(C) 2026 Dale DiMauro

 

In southern Vermont we have had cold nights and mounting snow not unlike major swaths of the country. All I have been doing for days is shoveling snow and organizing in preparation for working on my federal taxes. I do admit the snow we are receiving is beautiful and truly freshens up the landscape.

I did manage to squeeze in this watercolor between shifts of shoveling my driveway. The white of the paper really comes forward when all the washes are applied.

Winter fun is all around me. I am eager to take advantage of this deep snow. I haven't been on my snowshoes for some time. Plus, it is time to take out my cross-country skis in earnest. I have been on them once this year. However, it has been hard to know what the conditions will be as they have been ever-changing.

Cobalt Blue & Burnt Umber

                                                                                              (C) 2026 Dale DiMauro
 

Sand, water and stone makes a strong composition. There is a simplicity and timeless quality to these elements which is unmistakeable. The tide is generally coming in or going out. This watercolor was based  on a photograph I took along the coast of Maine.

This entire watercolor was painted with just two pigments: cobalt blue and burnt umber.  First, I painted a wash of cobalt blue over the paper. However, since this was a rough Arches watercolor paper some high points on the paper remained white, suggesting some sparkle from the sun.

Then I mixed both pigments to depict the sand color. After this I mixed the darkest value which is the rock-like color.

With experience I have learned to not fight the roughness of the paper if a paper has much texture to it's surface. After all, this is the strength of the painting surface. This picture was painted in one sitting.

I like the overall feel of this picture - it is very rhythmic and calming.

Prussian Blue & Other Thoughts

                                                                                 (C) 2026 Dale DiMauro
 

The watercolor medium has a rather unfair reputation. It has been said that watercolor is difficult to master. So, many artists distance themselves from picking up the practice altogether.

Regardless, it is the most portable, accessible and efficient to use of all the painting processes I can think of. All you need is clear water to clean your brushes.

From my experience the very things that make watercolor difficult to undertake are the very qualities that no other medium provides.

For example, the blending of colors if, well-placed can create lovely runs or can add weight to your subject matter. This is best done through the wet-into-wet technique. Mastering when to use soft and hard edges can suggest painting mist and other atmospheric affects, etc.

This week while studying a Winslow Homer watercolor at the Museum of Fine Arts in Boston, MA, I learned how he could establish three different values with one wash of Prussian blue paint: a wash for the sky, with blotting he would remove paint near the horizon leaving only the stained color & paint pure pigment for the shadows on the water with varying amounts of pressure from his brush work.

Watercolor is a medium I constantly learn from each and every day...

Winter Light

                                                                                 (C) 2026 Dale DiMauro
 

Painting snow in watercolor is a subject in of itself. It is very romantic. However, I love to paint snow scenes particular when fresh snow has recently blanketed the landscape. 

To make the snow radiate in the foreground I pre-washed the foreground where the snow is with a lemon-yellow pigment. In addition, to emphasize the glowing tree trunks I used brilliant orange which gives warmth to the landscape. 

Late last fall I painted a version of this scene without the snow. It had great late afternoon light not unlike this scene. Recently, one cold late Sunday afternoon I caught this dramatic snow scene from the distance and trudged over in my boots and took a quick photograph.

I thought about adding a bird or two to the sunlit branching but thought better of it. I thought it would be a bit cheesy. Overall, I like quality of the light and colors in this scene.

Watercolor Sketch

                                                                                 

                                                                                            (C) 2026 Dale DiMauro

Not all watercolors are finished works of art. This watercolor was painted in the Brattleboro Food Coop's cafe looking towards the Brattleboro Museum & Art Center with the backdrop of Wantastiquet Mountain, made famous by Henry David Thoreau.

I chose to remove all the construction equipment and signage which dominated the middle ground for a more rural look. Plus, I was painting on a small watercolor block which couldn't possibly contain all that detail.

Ironically, you can feel the shadow cast from the clouds overhead yet the sky in this photograph does not convey the patches of blue which I painted in the sky.

I do like the simple washes which depict some of the characteristics of the museum and grounds.

Reflecting on Past Paintings

                                                                                     (C) 2026 Dale DiMauro
 

At times the best paintings are the ones left behind.....

Recently, I was thinning out my office space of the inevitable clutter that begins to accumulate in this capitalism culture in which we live in. I came upon some watercolors which are a 'gem' for one reason or another. Some have clean brush strokes, others have pleasing color combinations while another has pigments that highlight the texture of the paper. I am not speaking in an arrogant matter just mindful in that moment of what I was sorting through.

In this political moment or moments, I am fortunate to be able to express myself in both painting and at the same time using drawing and painting as a healing practice to provide daily therapy. After all, everyone of the three hundred and forty million Americans who live in this country are going to need a lot of healing if our 'democracy' is to emerge from the current dark days to a greater outcome.

Of all the mediums to use for painting in this time, watercolor may be the best at expressing a bold stroke or even the quickest application.  At times a limited palette, simple composition or subject matter speaks the loudest. A painting in watercolor done over months is often no better than one done in ten minutes.

I like the abstract shape of these forms and the simple color scheme. Plus, this was intuitively painted in about ten minutes. 

Across the Field

                                                                           (C) 2025 Dale DiMauro
 

All kinds of surfaces are fair game game to paint on. I have painted on smooth hot-pressed, mild-textured and rough paper. In addition, I have painted on soft press paper and bristol board.

This was painted on a remnant of Arches 300lb watercolor paper that I received communicating a Christmas gift. I have read where this paper is recommended for plein air painting or direct painting. Also, it dries slower than thinner papers allowing the artist more time to work their washes. As a side note, I have begun experimenting with gum arabic which gives you some control over the painting process.

I like the added touch of venetian red on the middle left in contrast to the cooler pigments.

Local Pond

                                                                                      (C) 2025 Dale DiMauro
 

Last night I managed to paint this watercolor of a local pond, a favorite on one of my walks. Recently, the pond has frozen over. As a matter of fact, I observed three people walk across it to reach the trails on the other side.

Locally, I don't think I have ever seen water this color. I may be wrong but it caught my attention as I walked by.

In mixing the pools of paint I used for this picture - I settled on a watered down sap green for the surface of the pond with a sepia tone for the edge of the distant shore. 

For this watercolor I used the thicker 300 lb Arches watercolor paper instead of my usual 140 lb block paper. I am even considering using this 300 lb paper for my next plein air painting as many artists consider this Arches paper ideal for painting outside. This paper doesn't tend to buckle and has a slower drying time allowing me to work the surface longer.